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Works

RC 20 Die Liebende schreibt (“Ein Blick von deinen Augen in die meinen”)

instrumentation: contralto or mezzo-soprano and piano // soprano and piano ♦ On 30 April 1898 the soprano Aaltje Noordewier-Reddingius performed seven songs by Alphons Diepenbrock in the Amsterdam Concertgebouw. One of them was the sonnet Die Liebende schreibt (The Lover Write…

RC 21 Les elfes (“Couronnés de thym et de marjolaine”)

instrumentation: soprano, baritone, female choir and orchestra ♦ The cantata Les elfes (The Elves,1887) on a text by the French poet Charles Marie Leconte de Lisle (1818-1894) marks the end of a seven-year period in which Diepenbrock produced thirteen songs and six…

RC 22 Stabat mater dolorosa

instrumentation: male choir a cappella ♦ We do not know exactly when Diepenbrock started to set the text, which in those days was attributed to Jacopone da Todi (c. 1230-1306), to music. According to the composer himself (BD III:464), it mus…

RC 23 Ave Maria

instrumentation: mezzo-soprano and organ or piano // soprano and organ or piano ♦ In the course of 1888-89 Diepenbrock read La faute de l'abbé Mouret by Émile Zola. He had borrowed a copy from his college friend Aegidius W. Timmerman. A letter Diepenbrock wrote to Timmerman on 23 J…

RC 24 Jesu dulcis memoria

instrumentation: baritone and organ or piano ♦ Jesu dulcis memoria is the second work by Diepenbrock that was inspired by La faute de l’abbé Mouret (Abbé Mouret’s Transgression) by Émile Zola (see Ave Maria, RC 23). He uses the five strophes of th…

RC 25 Es war ein alter König

instrumentation: baritone or alto and piano ♦ Es war ein alter König (There was an Old King) is the only German song Diepenbrock set to music during the eight years he lived in ’s-Hertogenbosch, where he gave Latin and Greek lessons. For the thir…

RC 26* Het daghet uyt den Oosten

Diepenbrock makes no mention of his draft of Het daghet uyt den Oosten (The Sun Rises in the East) in his correspondence. Moreover, the manuscript bears no date, so we can only guess when and why he s…

RC 27 Missa in die festo

instrumentation: tenor, double male choir and organ ♦ As a child Diepenbrock grew to dislike the style of the masses for male choir used by composers from the first half of the nineteenth century, like Johannes van Bree, Johannes Verhulst, G.A. Heinze an…

RC 28 Rey van burchtsaeten (“Waar werd oprechter trouw”)

instrumentation: mixed choir a cappella ♦ Diepenbrock’s interest in Joost van den Vondel, the greatest Dutch poet from the Golden Era, was kindled at an early age. Both of his parents were members of a society that came together to read plays…

RC 29 Canticum “O Jesu ego amo te”

instrumentation: soprano and piano // soprano and organ ♦ In the literary magazine De Nieuwe Gids of January 1893 Alphons Diepenbrock published a review of Le Latin mystique van Remy de Gourmont, which he had written on 13 December 1892.1 In response, Frans …


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